A GUIDE TO REHEARSAL AND PERFORMANCE Eric Whitacre’s SLEEP

Russell Cowieson

Sleep, originally an a cappella choral under the Hyperion label in spring 2006 - Lento - If you are working with a young piece composed in 2000, was reached number one in the classical charts. band the tempo of the lento is probably going to be determined by how slowly commissioned by the ‘Big East More information about the composer and they can play the phrases in one breath. Conference Band Directors Association’ his works can be found at Lontano - discuss with them what lontano www.ericwhitacre.com whose many members are to be found means - ‘as from a distance’ - and how printed in the score. Published by they can achieve this effect. Talk about Carpe Ranam and distributed by Hal Instrumentation trying not to produce a sound which is too Leonard, it was premièred by Rutgers Scored for flute 1&2, oboe 1&2, clarinet 1- ‘present’ in the room. Wind Ensemble on April 26th, 2002. 3 and bass clarinet 1&2, AATB saxophones, Molto legato requires a constant 1 bassoon, 4 horns, 3 trumpets, 3 concentration on their breathing and also Written for wind band with optional SATB trombones, 2 baritones and 2 tubas. knowledge of the length of the phrase they chorus, it has been given an appropriate Three percussionists and timpani are are playing. grade three level, achievable by good required. Chorale like - again, discuss what a school bands. Rehearsal Suggestions chorale is (regularly refer to this throughout the rehearsal process to enhance the Performance time is approximately five and Sleep is on the current ncbf repertoire list singing qualities of the line) and how this a half minutes. (grade three), therefore I offer this guide to also implies a freedom of movement within rehearsal and performance from the Sleep had been intended as a setting of the phrase. Robert Frost’s Stopping by Woods on a perspective of a conductor working with a young band. Snowy Evening. After extensive legal battles, OPENING Whitacre was forced to discontinue use of Because the piece can be performed with Frost’s text, and turned to American poet optional SATB chorus, we have the added First phrase (bar 1-4) and friend Charles Anthony Silvestri to craft bonus of the score of the original choral There is no introduction; the music begins a new text to fit the already existing music. version being placed in the middle of the immediately with the first phrase. Silvestri’s text was inspired by watching his full score. This helps us to understand how Scored for clarinets, horns, baritones and son fall asleep and fits the music so the text of Silvestri’s poem fits the music, tuba. beautifully one would never know it came helps us with the pacing of the music and Bar 1 Aim for a true pianissimo, but after the composition. also with the emotional context. don’t let it do damage to the line. Make Eric Whitacre In the first rehearsal I read the poem to sure the air supply is supported enough to Eric Whitacre studied at the Juilliard School, the band, so they understand the context. allow the musicians to play through the earning his Master of Music degree and It makes a nice change from the usual line, especially when the line (see first horn) studying with Pulitzer Prize and Oscar- rehearsal routine, to ‘escape’ the band doesn’t move by step. Balance the winning composer John Corigliano. room, and consider other art forms. I ensemble to the best pianissimo horn return to the text regularly throughout the sound. Many of Whitacre’s works have entered rehearsals, especially when working with a 2 Beat 1 – possible errata, the concert the standard choral and symphonic young band, as it helps them to connect Ab in the tenor (original choral parts) is repertories. His works Water Night, emotionally with the music. Cloudburst, Sleep, Lux Aurumque and A Boy missing in the score. This could perhaps be and a Girl are among the most popular Whitacre gives no metronome mark but solved by one of the baritones or third choral works of the last decade, and his gives the directions ‘Lento lontano, e molto clarinet. legato’ and ‘Chorale-like’. Ghost Train, Godzilla Eats Las Vegas, and 3 As there is obviously no text to sing, In general I find that most young musicians’ October have achieved equal success in the the concert Eb is not rearticulated - see the understanding of Italian terms doesn’t symphonic wind community. To date, alto in choral version - which helps the extend beyond tempo. They have failed to Whitacre’s published works have received legato quality of the harmonic grasp that they can also give extremely thousands of performances and sold well accompaniment. There are many other important and useful direction as to the over 350,000 copies worldwide. places in the score where this happens. character of the music. It is always His music has been featured on dozens of worthwhile taking the time to explain to 4 Allow time to finish phrase and breathe commercial and independent recordings, and a them. as an ensemble. full collection of his a cappella music - released Winter 2006 WINDS 21 Second phrase (bar 4-7) diminuendo, or the contrasting mp needed must resist the temptation to change Same instrumentation as first phrase. in bar 18 will be lost. A generous acoustic dynamics. makes this much easier for a young band. 5 The clarinet does not repeat the Rehearsal letter B concert Eb in the melody but the first horn Second phrase (bar 18-21) Note the direction transparente in the does. Although the clarinet minim helps Whitacre ‘moment’ in terms of scoring. I choral version which is not on the band ensure the line, it is important that we hear like very much that he isn’t afraid to use version. I like to add this direction. the repeated crotchets in the horn line in flutes in the lowest range. He manages to Whitacre has tried to create the sound order for the syllable of the text to be score these moments so well that it is with his scoring (upper woodwind and heard. Maintain the pianissimo dynamic and possible to hear the flutes produce the percussion) but it is possible to go further lontano effect. wonderful full tone in the lower register and present a challenge to the musicians. 7 Again allow time to finish phrase and that they are capable of. One of the difficulties wind bands have is breathe as an ensemble. The first two Depending on the acoustic you might that the sound very often lacks the phrases have now been musically, yet have to allow the sound to clear (before transparency that an orchestra can achieve deliberately, rounded off which sets up a you play the second phrase) in order to (to describe at its most basic strings are contrast with the next two phrases. hear the second flutes’ low C (encourage able to play on a different part of the a full dynamic from them and remind the strings with a much lighter contact which Third and fourth phrase (bar 7-10 others to listen; they must be aware they creates this transparency of sound). The and 10-13) need to balance to the flute). percussion section of the band is excellent Same instrumentation as first phrase. at achieving this but wind instruments find 21 Instruments are all sitting on a The next two phrases (bars7-10 and 10- this more difficult. Doesn’t mean we comfortable note for their instrument, so 13) are joined to make one long phrase. shouldn’t try. diminuendo from mp is easily achievable. Make sure ensemble breaths deeply Ask the woodwind to imagine singers Be mindful of the poco più mosso, don’t enough to play the two phrases in one long performing this section with a breathier slow down through the diminuendo and unbroken line. tone and then ask them to attempt to work on getting the ensemble to take a The diminuendo before letter A (end of create this on their instruments. A sound quick breath which signals their intention phrase) acknowledges that there will have less focused, with less centre or ‘contact’. to move on. been some shaping (growth) of dynamic in This can of course adversely effect the the phrase. A small amount of rubato intonation so beware of potential Third and fourth phrases (bar 21- through the phrase is appropriate but not problems. 23 and 23-27) too much or it will ruin the effect of the The ensemble must balance to oboe As in the opening section of the piece to poco più mosso at figure A. which leads this section. letter A, the third and fourth phrases are Avoid the tendency to diminuendo too 13 Inexperienced players will need to hold linked to create a longer phrase. Don’t soon after beat two rather than from beat their nerve to control intonation on this forget the poco più mosso and flow three and don’t labour the chord (clash between concert E and through these two phrases. Work on a crescendo/diminuendos; be always aware of concert F). I usually have to spend some smooth transition of instrumentation from più mosso. time on this to reassure them that the phrase three to four (some fade out, ‘clash’ of notes is correct. Due to the others fade in). 27 Flute must be heard on the upbeat to nature of the harmony there are many 28. I dwell very slightly on the note then 21-23 Bassoon, tuba, clarinet 3, other moments in the piece which may give an upbeat into 28 which signals the trumpet 1 need to be encouraged to play require the same attention (e.g. bars 17, più mosso. Timpani and clarinet need to through the interval leaps to create line. 24, 32 etc). be aware of their balancing duties. Phrase four – all the repeated notes in 28 Tubular bells / vibes would appreciate Rehearsal letter A the original chorus version are now held your attention (their first entrance). First phrase (bar 14-18) as single sustained notes. Inner parts are The crotchet rest in bar 14 makes it easy 33 Again – work to make sure that flute crucial to the momentum of the phrase. to give a clear preparatory beat for the low C is heard. poco piu mosso. 26 Slight rall into this bar with a clear Strongest dynamic of the piece yet (mf); by cue to the timp (they haven’t played yet) Rehearsal Letter C the end of the phrase all instruments (apart which encourages a pp dynamic. Work 35 Horns signal a change in the tone from percussion) are playing. with the horn and clarinet to round off quality from transparente to dolce. Note Guard against the new mf being too strong. their note as subtly as possible. their crescendo is from p to mp. All other Provided that you don’t allow the flutes to crescendo-diminuendos in this section are 27 Differs from the choral version in that be shrill, the very nature of the slightly stronger, working from an initial the repeated concert C is not orchestration will automatically change the dynamic of mp. reproduced. Conductor must conduct sound and depth of tone to produce the through bars 26 and 27 with a slightly 38-42 Trumpet 1 and clarinet 1 have warm sound needed here. As the phrase slower beat (as indicated) to produce a lines with large intervals. Guard against progresses and the orchestration grows, try moment of stillness before the più mosso. them playing note for note and encourage to encourage the players to make subtle them to play through the notes to create entries which enrich the quality of the 26-43 Third clarinets need to work out line. sound. They shouldn’t ‘announce’ their stagger breathing. Of course you want arrival! them to manage this as subtly as possible, 38 Second alto sax has the only moving Although you would want the ensemble to but the timp pedal note can help cover a inner part from beats 2-3 and must be round off the phrase, don’t allow a multitude of sins. Also note that they heard.

22 Winter 2006 WINDS 39-43 Two groups of instruments (i. a small crescendo. should only be long enough to let the trumpets, clarinets, flutes, horns and ii. sound clear (need to know your acoustic) 50 Slightly holding the upbeat to E is saxes, trombones) have and for ensemble to take a relaxed both expressive and practical (in allowing contrasting/opposing dynamics, one breath. the lower brass, bass clarinet to breathe). group phasing out while the other group phases in. Worthwhile with young Rehearsal letter F musicians to rehearse each group Rehearsal Letter E Watch with young players, that those separately, let them find the single group First phrase (bar 50-53) who aren’t playing don’t ‘tune out’ and balance before both groups find their Upbeat to 51 must be heard. slump, thus ruining the atmosphere the collective balance. Continue to hold back the dynamic. With band have worked hard to create. young players, find the best controlled 39 Upbeats into these bars must be Everybody must remain focused. warm forte that the trumpets can play on heard, they give motion. As lower notes a top A and balance the rest of the 63 Crescendo goes to beat three (young they tend not to be heard, ask them to ensemble to that. players tend to bulge the sound towards be marked tenuto. Trombones need to switch from beat two) and must be rounded at peak, 41 Same as 39. accompanying forte dynamic (51 and 52) not accented. Same for bar 64. to fuller forte dynamic (crotchet before 43 Make sure chord is balanced (some 65 The crescendo is paced over a whole 53) and back to accompanying dynamic in instruments start their diminuendo a half bar. 54, whilst also being aware that on the bar earlier than others) then round off. fuller dynamic they must balance with 66 As mentioned previously, the cymbal saxes and 3rd and 4th horns. should send its sound out, and avoid Rehearsal Letter D being accented. First phrase (bar 43-46) Second phrase (bar 53-56) Note that scoring at D is exactly the 67 Virtually the whole band is scored Still hold back the dynamic but ask the same as opening (with added bass drum). here, but dynamic and balance must be trumpets and horns to stress the No più mosso, play with a more managed to create a warm mf only. repeated concert G (from 54-55). I restrained tempo to help create an air of usually ask them to mark it tenuto. Not 68 Note the ‘solo’ oboe on beat two expectancy. tenuto that gives length to notes but and first clarinet on beat three. Ensemble Marked espressivo so ask for full contact tenuto that gives ’full value’. In other must cut off at end of beat three in order with the tone but still at a p dynamic. words we value these notes as the most to hear the flutes upbeat into G. Again From the beginning of this phrase to bar important in the phrase and ‘knead’ you will have to consider your acoustic to 59 is an exercise in restraint. them. make this work. 43 Ask upper horns to define the As in the preceding phrase, trombones repeated concert C from 43-44. Amount need to switch from accompanying forte Rehearsal Letter G of definition depends on acoustic. dynamic to fuller forte dynamic and 69 The solo flute and clarinet who will balance with saxes and 3rd/4th horns. play in bars 71 and 72 should not be 44 Cue bass drum, it’s his/her first entry. playing here in order to prepare for a The sound of the bass drum should only Third phrase (56-62) – the climax smooth transition when they take over be ‘felt’ by the ensemble rather than of the piece from the section. heard. Combined with the restrained 58 Again hold the dynamic until 58 then tempo helps create an air of expectancy. I like the clarinets to be strongest and make sure the crescendo is correctly Note the crescendo in lower brass and as they diminuendo the vibes become paced with most of the work happening clarinets which, though it should never more audible; it changes colour as the on beat three and four. I ask the first overpower the ensemble, gives some clarinets fade out. trumpets to play the repeated A and the shape and direction to the short phrase. Bb with added tenuto and stress (no With young players you could use 46 Clarinets and lower brass must accent though). Hold back beat four two players to handle the vibes part sustain full value of semibreve in order slightly and ‘place’ beat one off bar 59. which also keeps percussion two and that sound doesn’t drop out as trumpets Percussion have a crucial role in achieving three more involved. enter with second phrase. an effective crescendo, they are only The choral version allows a repeat to marked to f to ensure they don’t end. I tend to have the winds play as Second phrase (bar 46-50) overpower the ensemble (especially written but ask the vibes and marimba to Beware of the nature of the ascending percussion three who has been waiting a play another couple of bars ad lib. They line. Trumpets and clarinets will probably long time to play these crash cymbals!). are capable of diminuendo to an absolute crescendo too early and too much; rein 59 I like to encourage the band to think whisper and as you don’t need to count them in. of the sensation of flying, of the bars you can stay focused on them till 49 As in the first phrase of rehearsal weightlessness as you drift off to sleep. the end. figure A, the trombones and alto sax The music should ‘take off’ which is should add to the sound without achieved by letting the music move announcing their arrival. Suspended forward slightly then rall into cymbal would probably appreciate a cue. 62. The tuba has an important role here The crescendo should not be too strong, in driving the momentum you want to nor should it end in an accent. Ask the create and as a moving part which needs player to round off the note and ‘send it to be heard. out’ without a jolt. Bass drum only makes 62 Note the cut off at end of bar. It Winter 2006 WINDS 23